Sentences with phrase «through black and white photographs»

An easy way to bring these elements into a room would be through black and white photographs or a replica of the Eiffel Tower.

They became more colorful and less representational, leading to his first totally abstract piece, Composition I, a colorful painting destroyed during World War II, known now only through a black and white photograph.

Not exact matches

We didn't have television in 1941, so this paragon existed visually for me only in blurry black - and - white newspaper photographs and in the wildly dramatic moving pictures that reeled through my mind on autumn Saturdays as I heard of his heroics via radio play - by - play.

Make america love again,» the ad blared through my news feed over black - and - white photographs of pre-pill couples courting at the sock hop.

Scott adds to the allure of the road with a book of black and white photographs documenting the architectural styles that sprang up along the route from the 1920s through the 1950s.

In the black and white photographs, Bangsted explores how Modernism collaborates with war through Dazzle camouflage, which was applied to the allied fleet of war ships during World War l and II.

Created three years later, A Pot of Boiling Water (1995) also records an equally fruitless process in a series of twelve black - and - white photographs: the artist carries a pot of boiling water as he walks through the traditional hutongs of Beijing while pouring hot water onto the ground, drawing a wet line that vanishes almost immediately.

The selection of works in Mike Kelley: Single Channel Videos included a one - act melodrama based on a black - and - white yearbook photograph, a hammy and melancholic Superman reciting Sylvia Plath, an invocation of power through juvenile imagination, and collaborations with Paul McCarthy and BDSM dyad Sheree Rose and Bob Flanagan.

Polygon - Чаrа ́н, 2015 medium format black and white photograph, double exposure through thermonuclear strata, on Photo Rag Baryta, Semipalatinsk nuclear weapons test site in Kazakhstan 48 3/8 x 56 1/4 inches (122.8 x 142.9 cm) each 48 3/8 x 172 5/8 inches (122.8 x 438.4 cm) overall edition of 3 with 1 AP JCh - 137

Julian Charrière Polygon XXVIII, 2015 medium format black and white photograph, double exposure through thermonuclear strata, on Photo Rag Baryta, Semipalatinsk nuclear weapons test site in Kazakhstan 48 3/8 x 56 1/4 inches (122.8 x 142.8 cm) edition of 3 with 1 AP JCh - 146

Polygon XXVIII, 2015 medium format black and white photograph, double exposure through thermonuclear strata, on Photo Rag Baryta, Semipalatinsk nuclear weapons test site in Kazakhstan 48 3/8 x 56 1/4 inches (122.8 x 142.8 cm) edition of 3 with 1 AP © Julian Charrière / VG Bild - Kunst, Bonn, Courtesy: DITTRICH & SCHLECHTRIEM, Berlin and Sean Kelly, New York

Cincinnati Museum Center Presents Treasures in Black & White Historic Photographs of Cincinnati April 25 — October 12, 2014 South Gallery, Cincinnati History Museum Look through the photographer's lens and revisit images that document Cincinnati's neighborhoods, architecture and

Polygon XXVIII, 2015 medium format black and white photograph, double exposure through thermonuclear strata, on Photo Rag Baryta, Semipalatinsk nuclear weapons test site in Kazakhstan 48 3/8 x 56 1/4 inches (122.8 x 142.8 cm) edition of 3 with 1 AP JCh - 146

Body as Art: Photographs by Thierry Laurence Through January 31 Elegba Folklore Society's Cultural Center In this series of black - and - white photographs, Thierry Laurence manipulates light, shadow, and water to express an artistic essence of the blackPhotographs by Thierry Laurence Through January 31 Elegba Folklore Society's Cultural Center In this series of black - and - white photographs, Thierry Laurence manipulates light, shadow, and water to express an artistic essence of the blackphotographs, Thierry Laurence manipulates light, shadow, and water to express an artistic essence of the black male body.

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human black - and - white photographs of inanimate objects animated with human white photographs of inanimate objects animated with human legs.

In his black - and - white photographs of the series, Bronx Floors, a sunlit window can often be glimpsed through the freshly carved holes.

In 2008, the Andy Warhol Foundation for the Visual Arts donated 152 of the Polaroid and black and white photographs to the Smart Museum through the Andy Warhol Legacy Program.

It features: a series of black - and - white photographs of elderly actors by Liu Zheng that play with conventions of ethnographic and opera photography; two videos by Chen Qiulin that make use of traditional opera characters to respond to changes wrought by the Three Gorges Dam; The Forbidden City (Zijincheng) by Liu Wei, a lyrical video of theatrical «glove puppets» (budai kuilei) shown publicly for the first time; and videos by Cui Xiuwen that connect to opera in more oblique ways, through performative elements and symbolic props, gestures, and costumes.

Oscar J Rivera's, series Triangle, documents queer bodies of color and personal relationships through striking and richly printed black and white photographs.

Medium format black and white photograph, double exposure through Thermonuclear strata, on Photo Rag Baryta, Semipalatinsk nuclear weapons Test Site in Kazakhstan.

Front Room: An - My Lê, on view October 9 — February 23, 2014, investigates ideas of war and the military through 21 large - scale black - and - white and color photographs.

Changing Colors: a workshop on toning black and white photographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Pphotographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Portland, OR

Chuck Close Photographs, on view from March 20 through October 2, 2016 features 86 images from 1964 to the present and illustrates the full range of the artist's exploration of photography — from early black and white maquettes, to monumental composite Polaroids, to intimately scaled daguerreotypes and recent Polaroid nudes.

Rudolf Stingel (through April 19) Made on canvases up to 15 feet wide, each of the five huge and glamorous paintings in this show are copied in shades of gray from antique black - and - white photographs of snowy, rocky mountains near Merano, Italy, the town where Mr. Stingel was born in 1956.

Newkirk's photographs, mixed media paintings and sculptural installations engage with both the personal and political realities of being identified as African American, which he often conveys through the use of disparate materials, from fake snow and white neon to the pony - heads, braided hair and pomade associated with black hairstyles.

Painted from a black - and - white photograph, it is both a portrait and an oblique self - portrait: through the act of transcription, Peyton alludes to her own act of looking and reimagining.

The exhibition consists of 23 large - scale black and white photographs of New York and its people, and evokes the experience of moving through the city with great intimacy and subtlety.

When silkscreening his black - and - white photographs onto the costumes for Set and Reset (1983), the images bled through the fabric to drop cloths underneath, inspiring the Salvage series (1983 — 85).

Viewing her beautifully executed black and white photographs is akin to travelling through time, across the fabrics of America that physically built America; it gives agency to the physiological and social damages wrought upon the citizens of its underprivileged classes throughout the process, and particularly upon the Frazier family.

It offers a glimpse of one of his new works (a cutout of the island of Manhattan) through a black - and - white photograph that was snapped in his Red Hook studio.

At Steven Kasher Gallery, which is presenting more than 75 vintage black - and - white photographs in her first major retrospective through February 18, visitors are immersed in an entirely singular aesthetic environment.

Man Ray's LA through February 17 Gagosian Gallery, Beverly Hills By Shana Nys Dambrot Upstairs at Gagosian Gallery's Beverly Hills location is a charming and eccentric collection of black and white photographs made by American artistic polymath Man Ray between 1940 - 1951, during his Los Angeles sojourn.

KIRKLAND ARTS CENTER GALLERY: 620 Market St. Black - and - white photographs by youth involved in the Seattle - based Youth in Focus, a program that enables urban teens to experience their worlds through photography.

According to «Carrie Mae Weems: Three Decades of Photography and Video,» Weems returns to this metaphor in her May Days Long Forgotten series: «Through photographs, both color and black and white... she links a seemingly innocent celebration of spring with a call to social action.

Strangers on Common Land (2012), a large - scale work made from black and white photocopied enlargements of a photograph, shows two strangers standing in an open landscape, connected by the line of bunting that they hold and the common land on which they stand; a metaphor for the possibility of coming together through cultural celebration.

Installed in the middle of the Yokohama Museum of Art, Michael Landy's massive Art Bin (2014) was the exhibition centerpiece — matched in scale and exuberance by installations such as Miwa Yanagi's mobile stage truck, which provided a site for gravity - defying pole dancing performances, and Shinro Ohtake's wheeled shed assembled from scrap materials and photographs — but many of the other works were distinguished by intimate reserve, apparent, for example, in René Magritte's small, black - and - white photographs from the portfolio «The Fidelity of Images» (1935), and Melvin Moti's film No Show (2004), depicting an empty Hermitage Museum through a single image accompanied by a voice track.

Made at bus stops throughout the city, the large - scale black and white photographs capture the isolation of the urban metropolis through formally composed and carefully detailed views of desolate boulevards disappearing into the horizon, peopled only by the Los Angeles underclass waiting for the next bus.

His canvases are populated with dramatic images lifted from sources as various as Salle's own black - and - white photographs, eighteenth - through twentieth - century French and American painting, 1950s print advertising and how - to - draw manuals.